In order to ensure that I could actually perform what I had in mind, I needed to consult with Glen whom provided me with the butches paper, tarp, the camera, tripod and paint tubs. He also organised for me to perform in the downstairs carpark which he had sectioned off for me so that I had sufficient room.
I set everything up and intended to have the pant tubs lines up before each new row of butches paper with a paint tube at each of the four starting points for the dance.
The paint was not as concentrated as I had hopes it to be. It came out in small lines as the use of too much paint which Pollock used frequently would mean that it would take days to fully dry–I did not have this luxury as I only had the space for a day.
I had to be very conscious of my movement as the paper was thin and so ripped into the paper causing me to start again. Therefore, I could not pirouette and had to do a ball change instead. The scale of the butches paper allowed me to perform the individual 40 second dance 4 times from my left to right before I restarted the music, moved the paints down and started the sequence again. I was able to do 4 rows of the dance with 4 columns intertwining with eachother.
If I was to do this iteration again I would do the dance on smaller butches paper so that there is a clearer indication as to where each dance started and stopped at. Other than that I believe it was a good attempt at this original idea which conveys the relationship movement has with space. It records movement that is not traditionally recorded. Once a dance is done, there is no recollection of movement through space which had just occurred, just the feeling of the dancer whom is overwhelmed by the movement. I wanted to translate this feeling into visual representation of movement.